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ENG 3062-001: Intermediate Poetry Writing Charlotte Pence Eastern Illinois University

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ENG 3062-001: Intermediate Poetry Writing Charlotte Pence Eastern Illinois University Eastern Illinois University The Keep Fall 2015 2015 Fall 8-15-2015 ENG 3062-001: Intermediate Poetry Writing Charlotte Pence Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/english_syllabi_fall2015 Part of the English Language and Literature Commons Recommended Citation Pence, Charlotte, "ENG 3062-001: Intermediate Poetry Writing" (2015). Fall 2015. 67. http://thekeep.eiu.edu/english_syllabi_fall2015/67 This Article is brought to you for free and open access by the 2015 at The Keep. It has been accepted for inclusion in Fall 2015 by an authorized administrator of The Keep. For more information, please contact [email protected]. ENGLISH 3062: INTERMEDIATE POETRY WRITING FALL 2015 3 CREDIT HOURS Dr. Charlotte Pence Course Information: Email: [email protected] MW 3-4:15 Office: 3745 Coleman Hall Room: CH 3159 Office Hours: MW 12:30-3 Section 001 and by appointment. REQUIRED TEXTS AND MATERIALS o The Poet’s Companion: A Guide to the Pleasures of Writing Poetry edited by Kim Addonizio and Dorianne Laux o Poetry: A Pocket Anthology, 7th Edition, Edited by R.S. Gwynn. (Bring to every class.) o The Alchemy of My Mortal Form by Sandy Longhorn ($15) o Course Packet with additional readings from Charleston Copy X, 219 Lincoln Ave. o A writer’s notebook of your choice. (Bring to every class.) o Three-ring binder or folder to keep all of the poems and handouts. COURSE DESCRIPTION Poet Richard Wilbur once remarked that “whatever margins the page might offer have nothing to do with the form of a poem.” In this intermediate course centered on the writing of poetry, we will accept Wilbur’s challenge and learn the variety of ways we can give shape to our lyrical expressions. We will practice writing poems in different modes and forms, from the oral poetry of the ancient Greeks to performance poetry of today. Other modes and forms will include the sonnet, syllabics, and freeverse. How one varies these forms and makes them expressive will be both the challenge and the pleasure of the class. Since part of the writing process is the revision process, workshop will play a fundamental role in our course. In workshop, our poems will be read, critiqued, and evaluated with the goal of a polished manuscript being presented by the semester’s end. We will also keep regular writing notebooks where we will begin poems and hone our craft. In addition to improving our writing skills, this course will provide opportunities to interact with some of the assigned poets, thus exposing us to the vibrant world of contemporary poetry. COURSE OBJECTIVES A. Students will develop skills of craft analysis by discussing, reading and writing poetry. B. Students will produce and revise original creative writing in the poetry genre. C. Students will learn to read, discuss, and identify their work in the context of a poetic tradition. D. Students will hone their ability to critique poetry in a creative writing workshop. E. Students will participate effectively in a reading of their poetry produced for this course. COURSE REQUIREMENTS Nine poems will be submitted to the class over the course of the semester. Starting our fifth week, one poem will be submitted to the class Mondays (with one or two exceptions designated in the syllabus). The following Wednesday, we will workshop a few of these poems. Please use a standard font such as Times and in the right hand corner include your name, the date, and “Poem #.” Many weeks, we will be writing poems from assignments that I provide based on the class’s needs and interests. A writer’s notebook is key to the writing process and a requirement for this course. Most weeks, I will provide writing exercises. Some of them will be turned in for workshop and some of them will not be. All of the writing exercises will stretch your creativity and help you practice craft elements that can be used for later poems. We will also write in class together, so always bring the notebook to class. Most writers I know carry a notebook with them at all times to record images, bits of dialogue, poem ideas, etc., so this is a good habit to acquire. I encourage all of you to try to write at least six lines a day in this notebook since a writer is simply one who writes often. I will collect these notebooks twice during the semester and grade based on completed exercises and regular entries. In addition to the writing exercises, I also ask that you do six one-page responses (three before the mid-term and three after) to a poem that has been assigned. Within the 300-350 word response, do not comment on if you liked or didn’t like the work. Instead, comment on an element of craft and how the poet is using it in the poem of your choice. For example, you might want to track the use of the “s” sound and what tonal effect that gave the poem. Or, you might want to comment on an interesting metaphor that added a few layers of “Ends are what define poetry. Line breaks. Mortality. If you want middles, go read a novel. If you want happy endings, go read a cook book.” —Dean Young development. Another example might be to look at the line unit. If short, how did the short lines alter your reading of the poem? As you can see by the examples, the idea here is to look at how the poem is built so that you might be able to apply the same techniques to your work. This is a common practice among writers. To gain the most from this assignment, it is key that you do the analysis before coming to class. (Models are provided in the back of your course packet.) Reading and writing assignments will be our way to learn about the craft of writing. In order for the class to be both challenging and organic, I will assign many of our readings and writing assignments on a weekly basis. So, check in with your D2L email regularly and be aware that it is your responsibility to keep up with the assignments not only listed in the syllabus but on D2L as well. I also may include a few pop quizzes if I do not feel as if the class is keeping up with the reading. These quiz grades will be factored into the participation portion of your final grade. Finding a community is important for writers, partly because the work itself is often done in isolation. Therefore, participation in two literary events is required. You can choose from a variety of readings in Champaign-Urbana, weekly open mics at the Jac downtown, or the readings listed in your syllabus. For each event, submit a response about the poetry reading the first class day after that reading. In this response, comment on the experience of the reading itself. How did the poet’s portrayal of his/her work affect your reception of the poem? What poems left an impression and why? What are the benefits or drawbacks from sharing poems in a public setting? These are just a few examples of what you might want to discuss. Word count: 200-300 words. Workshops will encompass half of the in-class work that we will do. We will divide our class into two or three groups (to be determined once we know class size) to make the workshops more in-depth. For each workshop, you are required to write editing and revision suggestions on each poem before class. If you are not being workshopped that week, you only need to turn in one copy of your weekly poem to me. If you are being workshopped, you will need to bring copies for every person in the class. No emailed workshop poems will be allowed. We will discuss proper workshop etiquette in class, but the general guideline is to braid together honesty, specificity, and kindness since one without the others will not serve the writer. Also keep in mind that poems for workshop should have undergone at least two to three revisions before bringing them to us for suggestions. Not everything you write will be wonderful and not everything you write will be horrible. These are the extremes. What is more likely is that you will write poems that are somewhere in between—and we will help each other move the poems in the direction the poem wants to be moved. A mid-term will consist of two components: submitting your writing journals and beginning the revision process for the final portfolio. Seeing as how our final requires six revised poems, it is a good idea to get started on those revisions. So, the midterm asks you to revise and submit three poems for consideration to our school’s journal The Vehicle or another national undergraduate journal such as Grub Street. Simply bring me proof of your submission. A final manuscript of your poems will be submitted for the final exam. The manuscript needs to be submitted in a black paper folder (no three-ring binders). Within this manuscript, include—in this order—a title page, an epigraph, a table of contents, six poems that you have heavily revised followed by the poems that you submitted throughout the semester with my comments on them. For the six revised poems, I would like the original submitted poem placed directly behind it so that I can see how extensive the revisions are. The majority of the final manuscript’s grade stems from the seriousness of revision.
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